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In the last decade, the rise of OTT platforms has catapulted Malayalam cinema onto the global stage. Yet, even as films travel to Toronto and Busan, they have not lost their accent. Jallikattu (2019) turned a village’s hunt for an escaped buffalo into a metaphor for human savagery, shot with the kinetic energy of a martial arts film but the soul of a folk tale. The Great Indian Kitchen (2021) became a feminist manifesto, not by showing grand protests, but by meticulously depicting the daily, grinding ritual of cooking and cleaning in a traditional household—a space so mundane it had been invisible to cinema for decades.
In the last decade, the rise of OTT platforms has catapulted Malayalam cinema onto the global stage. Yet, even as films travel to Toronto and Busan, they have not lost their accent. Jallikattu (2019) turned a village’s hunt for an escaped buffalo into a metaphor for human savagery, shot with the kinetic energy of a martial arts film but the soul of a folk tale. The Great Indian Kitchen (2021) became a feminist manifesto, not by showing grand protests, but by meticulously depicting the daily, grinding ritual of cooking and cleaning in a traditional household—a space so mundane it had been invisible to cinema for decades.